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This first major solo exhibition of Anne Collier's work traces the photographer' s career from 2002 to the present. Encompassing about 40 of her large\, coo lly elegant prints &mdash\; including works from her signature Woman wi th a Camera series &mdash\;  \;the exhibition presents themes that have dominated her work\, from pop psychology\, to the cliché\;s and conventions of commercial photography\, to the act of seeing.

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Building upon the legacies of artists such as Cin dy Sherman and Richard Prince\, Collier recontextualizes images sourced fro m popular culture &mdash\; including record-album sleeves\, magazines\, cof fee-table books and Hollywood film stills &mdash\; and reshoots these artif acts against neutral studio backdrops. Many works explore the role gender p lays in photography\, as in her ongoing Woman with a Camera\, whic h often focuses on film heroines such as Marilyn Monroe who appear simultan eously empowered and objectified when a camera is placed in their hands.

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Curated by MCA Chief Curator Michael Da rling and with installation overseen by AGO Curator of Modern and Contempor ary Art Kitty Scott\, Anne Collier will be on view on Level 4 of t he AGO's Contemporary Tower.

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This exh ibition is included with general admission.

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Organized by the MCA Chicago.

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ARTIST'S TALK

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Wednesday\, September 23
5:30 pm
Jackman Hall

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PUBLIC OPENING

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Wednesday\, September 23
6:30 &ndash\; 8:30 pm
Walker Court

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DTEND:20160110 DTSTAMP:20150805T000723 DTSTART:20150923 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anne Collier UID:391728 END:VEVENT BEGIN:VEVENT DTEND:20150923T203000 DTSTAMP:20150805T000723 DTSTART:20150923T183000 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anne Collier UID:391729 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Critically acclai med solo exhibition from the Tate Britain makes its only \;Canadian app earance in Toronto

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Thi s fall the Art Gallery of Ontario (AGO) will host a major exhibition celebr ating the experimental and contemplative works of Joseph Mallord William Tu rner (1775&ndash\;1851)\, a giant of British art. Opening on Oct. 31\, 2015 \, J.M.W. Turner: Painting Set Free features more than 50 large-scale paintings and watercolours on loan from Tate Britain a nd makes the case that the radical works created in the final 15 years of T urner&rsquo\;s career\, with their arresting use of light\, represent a ful fillment of the artist&rsquo\;s upward trajectory.

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&ldquo\;By bringing an exhibition of this calibre to Toronto this fall\, the AGO will offer an exceptional experience to its members and visitors\, and we&rsquo\;re delighted to be partnering with one of the wor ld&rsquo\;s most renowned art institutions to do so\,&rdquo\; says Stephani e Smith\, the AGO&rsquo\;s Chief Curator. &ldquo\;Turner was a great artist who reimagined the medium of painting to create powerful and beautiful wor ks. Through his art\, he invites us to bear witness to the rapidly changing world of his time and to delight in the power of the artistic imagination. "

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Premiered at Tate Britain in Septem ber 2014 and heralded by critics across the U.K. as &ldquo\;an exciting\, e ntrancing show&rdquo\; (The Guardian) and &ldquo\;sensational&rdquo\; (Lond on Evening Standard)\, J.M.W. Turner: Painting Set Free focuses on the final and most experimental phase of the artist&rsquo \;s career. Beginning in 1835 and closing with his last exhibitions at the Royal Academy in 1850\, the exhibition sets out to show how Turner&rsquo\;s final years were a time of exceptional energy and vigour\, initiated by on e of his most wide-ranging tours of Europe. The installation at the AGO wil l be coordinated by Lloyd DeWitt\, AGO Curator of European Art.

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Turner&rsquo\;s late works\, with their emphasis on atmosphere\, are famous for their sublime colour palettes\, textures an d arresting use of light. Highlights of the exhibition include the large hi storical works Ancient Rome: Agrippina Landing with the Ashes of German icus (exhibited 1839)\; Snow Storm - Steam Boat off a Harbour&rsqu o\;s Mouth (exhibited 1842) and the iconic Angel Standing in the S un (exhibited 1846)\; as well as numerous and magnificent watercolours \, including The Blue Rigi\, Sunrise (1842) and the haunting F ire at the Grand Storehouse of the Tower of London (1841).

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&ldquo\;J.M.W. Turner is a towering figure of Br itish 19th-century art\,&rdquo\; says DeWitt. &ldquo\;His innovative approa ch remains an ongoing inspiration to contemporary artists and audiences. An d yet it was during this last\, most fruitful period of his life that his a rt was most misunderstood. Mocked publicly\, Turner baffled his critics wit h his radical approach. Nonetheless\, he carried on experimenting with unus ual subject matters and different canvas formats and mastering his free and spontaneous techniques in both oil and watercolour.&rdquo\;

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J.M.W. Turner: Painting Set Free runs at the AGO until Jan. 31\, 2016. A 250-page\, soft-cover catal ogue will accompany the exhibition. Published by the Tate and edited by Dav id Blayney Brown\, Amy Concannon and Sam Smiles\, J.M.W. Turner : Painting Set Free features more than 100 colour plates and will be available for sale in shopAGO for $63.

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AGO members will be offered free admission to J.M.W. Turner: Painting Set Free and exclusive previews in the days leading up to the exhibition&rsquo\;s public opening. More information on t he benefits of AGO membership can be found at www.ago.net/general-membership.

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J.M.W.Turner: Painting Set Fr ee is organized by Tate Britain.

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Media Partner: Globe and Mail

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Official Hotel Partner: Chelsea Hotel

DTEND:20160131 DTSTAMP:20150805T000723 DTSTART:20151031 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:J.M.W. Turner: Painting Set Free\, Joseph Mallord William Turner UID:391726 END:VEVENT BEGIN:VEVENT DTEND:20151031T173000 DTSTAMP:20150805T000723 DTSTART:20151031T100000 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:J.M.W. Turner: Painting Set Free\, Joseph Mallord William Turner UID:391727 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The first issue of Lillipu t: The Pocket Magazine for Everyone appeared in July 1937. The publica tion quickly became popular for its small format\, whimsical covers and eas y-to-digest contents. A welcome distraction for those serving in the Second World War\, Lilliput featured entertaining cartoons\, short stori es by well-known authors and occasional photographs of female nudes.

\n< p style="text-align: justify\;">Illustrator Walter Trier designed all the < em>Lilliput covers &ndash\; more than 150 ­\;&ndash\; from 1937 to 1949. On each cover\, he placed a trio of a man\, a woman and a little Scot tish terrier in a comical situation. Trier called the couple &ldquo\;the em bodiment of something eternally amusing.&rdquo\;

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In 1976\, the Trier-Fodor Foundation gave the Art Gallery of On tario more than 1\,100 works by Trier. This small exhibition is selected fr om the AGO's collection of 30 drawings for Lilliput and a large nu mber of proofs for the original covers.

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Organized by Art Gallery of Ontario

DTEND:20150913 DTSTAMP:20150805T000723 DTSTART:20150502 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:Walter Trier’s Lilliput Covers\, Walter Trier UID:391725 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Benjamin Cheverton (British\, 1794&ndash\;1876) was a man of many talents: he excelled in invention\, sci ence and craftsmanship. In the 1820s\, he perfected a sculpture-copying mac hine that predates modern 3-D printers by more than 150 years. Working from full-sized busts created by other sculptors\, he used the machine to produ ce exact\, miniaturized copies.

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This exhibition invites you to explore ongoing research into the works of Benjam in Cheverton from the Thomson Collection at the Art Gallery of Ontario. Con stantly seeking answers\, AGO curators and conservators closely examine the works\, comb through primary documents and visit other museums to study re lated objects and research materials. For example\, new in-depth findings h ave revealed the identities of a number of the sitters depicted in Cheverto n's works.

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Organized by the Art Galle ry of Ontario

DTEND:20160402 DTSTAMP:20150805T000723 DTSTART:20150221 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:Idea Lab: Research at the AGO Investigating the Works of Benjamin C heverton\, Benjamin Cheverton UID:391724 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the mid-1970s several young Canadian artists embraced the cutting-edge technology of the colour Xerox machine. Six of them &ndash\; Robert Arn\, Barbara Astman\, Flavio Belli\, Michael Bidner\, Michael Hayden and Jaan Poldaas &ndash\; joined forces wit h curator Karyn Allen during an exciting two-week exhibition at the AGO in the fall of 1976. As an art medium\, xerography made it possible to produce inexpensive copies of virtually any image or object. It allowed artists to play with images from the mass media\, recombining or altering them for th eir own use. Visitors today will recognize this art form as a precursor to the pervasive circulation of digital images today.

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This installation draws upon our rich archival holdings of As tman and Bidner from the 1976 exhibition.

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Organized by Art Gallery of Ontario

DTEND:20160417 DTSTAMP:20150805T000723 DTSTART:20150425 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:Look Again: Colour Xerography Art Meets Technology at the AGO UID:391723 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dutch painter Piet Mondrian is often regarded as the father of modern abstract art. By the 1920s\, he had developed his trademark style\, which is characterized by bold red\, yello w and blue rectangles bounded by a black-and-white grid.

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Mondrian spent his youth in rural Holland painting wind mills\, fields and rivers. Along with two works by Mondrian\, this small\, focused installation includes a selection of watercolours by artists of the Hague School\, whose moody\, pastoral landscapes influenced Mondrian's early work.

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However\, as Before Abstrac tion shows\, Mondrian preferred high horizon lines and flattened space s to the distant panoramas and open skies of Hague School artists. The wate rcolour Three Cows in a Pot Stall\, a recent addition to the AGO's collection\, hints at Mondrian's mature style. The strong contours of this work &mdash\; the distinct horizontal and vertical lines that enclose the cows &mdash\; foreshadow the abstract patterning of his later compositions.

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Organized by Art Gallery of Ontario< /p> DTEND:20151101 DTSTAMP:20150805T000723 DTSTART:20150523 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:Before Abstraction \, Piet Mondrian UID:391717 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Drawi ng on the power that the land holds in our imaginations\, Picturing the Americas invites visitors to traverse a vast and magnificent landmass that spans from Canada's Arctic to the icy tip of Argentina and Chile and to see its icons anew. Featuring more than 100 landscapes from across the h emisphere\, the connections and continuities of our shared history and land are undeniable: we are connected and yet we are distinct.

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Created between the early 1800s and the early 1900s\, just as nations in the Americas gained and asserted their independence\, t he paintings represent efforts by explorers and by artists &mdash\; both Eu ropean and locally born &mdash\; to capture and define the essence of a pla ce on canvas\, always rooted in the natural beauty of the land.

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Staged as a series of encounters between artwork s\, visitors and the land\, Picturing the Americas is arranged the matically in dramatic groupings. Visitors will encounter beloved and unfami liar sites as seen through the eyes of such celebrated landscape artists as Brazil's Fé\;lix É\;mile Taunay and Tarsila do Amaral\, Mexico 's Eugenio Landesio and Gerardo Murillo &ldquo\;Dr. Atl\,&rdquo\; Canada's Cornelius Krieghoff and Lawren S. Harris and Frederic E. Church and Georgia O'Keeffe from the United States.

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In bringing together for the first time iconic works from various nations\, Picturing the Americas reveals how landscapes communicate aspiration s\, nationhood and distinct cultural identity. It also challenges visitors to engage with environmental issues and consider the land as a space of con quest\, exploration\, and contemplation &ndash\; issues still very pertinen t today.

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Organized by the Art Gallery of Ontario\, Pinacoteca do Estado de Sã\;o Paulo and the Terra Found ation for American Art\, which is also recognized for its generous support.

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DTEND:20150920 DTSTAMP:20150805T000723 DTSTART:20150620 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:Picturing the Americas: Landscape Painting from Tierra del Fuego to the Arctic UID:391708 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An intrepid explorer\, artisti c innovator and thought pioneer\, Emily Carr created works of art that refl ect the dramatic impact of her encounters with the indigenous cultures and the formidable landscapes of British Columbia in the first half of the 20th century. Breathing new life into Carr's legendary fascination with the Pac ific Northwest through the display of archival materials\, paintings and ar tifacts\, From the Forest to the Sea: Emily Carr in British Columbia is curated by Canadian art critic Sarah Milroy and Ian Dejardin\, Sackle r Director of the Dulwich Picture Gallery.

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Tracing a dramatic journey from darkness to light\, and from winter to su mmer\, the exhibition features nearly 100 paintings\, watercolours and draw ings by Carr\, including rarely seen sketches\, works drawn from private co llections as well as the recently discovered illustrated journal Sister and I in Alaska\, in which Carr documented her pivotal 1907 trip up a nd down the Northwest Coast. Visitors will travel with Carr as she explores this landscape and its indigenous communities\, searching for a sense of p lace and self in both her brooding forest scenes and the euphoric skyscapes of her late career.

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In dialogue with Carr's paintings\, the exhibition features more than 40 historic indigenou s artifacts from the Pacific Northwest Coast\, including masks\, baskets an d ceremonial objects by Haida\, Kwakwaka'wakw\, Nuu-chah-nulth\, Salish\, T simshian and Tinglit makers.

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Download or update the AGO ap p for iOS or Android to access audio tracks featuring artists\, curators\, an thropologists and historians discussing some of the artifacts in this exhib ition.

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Organized by the Art Gallery of Ontario and Dulwich Picture Gallery with the generous collaboration of the National Gallery of Canada\, the Vancouver Art Galler y\, the Royal BC Museum\, BC Archives and the Museum of Anthropology\, UBC.

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dulwich picture gallery logo
DTEND:20150809 DTSTAMP:20150805T000723 DTSTART:20150411 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:From the Forest to the Sea: Emily Carr in British Columbia\, Emily Carr UID:391707 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Photographs have played a cruc ial role in shaping perceptions of nuclear weapons and nuclear energy. Camera Atomica &mdash\; guest-curated by writer\, curator and art hist orian John O'Brian &mdash\; is the first substantial exhibition of nuclear photography to encompass the entire postwar period from the bombings of Hir oshima and Nagasaki in 1945 to the triple meltdown at Fukushima Daiichi in 2011.

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The election of President Ronal d Reagan in 1980 accompanied an intensification of the Cold War\, and artis ts and photographers responded in large numbers to the escalating risk of a nuclear confrontation. The politics of the Cold War also coincided with a cultural debate around photography and its claims to represent what is &ldq uo\;true&rdquo\; or &ldquo\;real.&rdquo\; Much post-1980 nuclear photograph y reflects altered understandings of the limitations of photography and the dangers of the nuclear arms race.

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Camera Atomica addresses pressing issues in the post-war era &ndash\ ; nuclear weapons proliferation\, toxic waste disposal and climate change & ndash\; as they are represented in photography. Organized thematically\, it brings together vintage and contemporary photographs\, press and fine arts photographs\, scientific and touristic images and advertisements and propa ganda from a wide range of sources. A discussion room\, designed to evoke a fallout shelter\, concludes the exhibition\, replete with posters\, articl es and details about local engagement with atomic energy.

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Beginning with Wilhelm Rö\;ntgen&rsquo\;s discover y of the X-ray in 1895\, the exhibition includes more than 200 works\, incl uding an installation by Ken + Julia Yonetani\, Ken Domon and Shomei Tomats u&rsquo\;s photographs of hibakusha (survivors of Hiroshima and Nagasaki)\, David McMillan&rsquo\;s photographs at Chernobyl Nuclear Power Plant and S andy Skoglund&rsquo\;s darkly humorous Radioactive Cats\, as well as works by Nancy Burson\, Edward Burtynsky\, Philippe Chancel\, Carol Cond é\; and Karl Beveridge\, Bruce Conner\, Robert Del Tredici\, Carole G allagher\, Blake Fitzpatrick\, Kenji Higuchi\, Michael Light\, Dean Loomis\ , Richard Misrach\, Ishiuchi Miyako\, Barbara Norfleet\, Andrea Pinheiro\, Shimpei Takeda\, Donald Weber\, Garry Winogrand and \;official U.S. Arm y and press photographs from the AGO&rsquo\;s collection. Also featured is a recently acquired work by James Welling\, from his series The Glass H ouse.

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Organized by the Art Gallery of Ontario.

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A 304-page soft-cover catalogue accompanies the exh ibition and will be for sale in shopAGO. Co-published by the Art Gallery of O ntario and Black Dog Press\, Camera Atomica includes more than 250 illustrations as well as essays by John O'Brian\, Hiromitsu Toyosaki\, Jul ia Bryan-Wilson\, Blake Fitzpatrick\, Susan Schuppli\, Iain Boal\, Gene Ray and Douglas Coupland.

DTEND:20151115 DTSTAMP:20150805T000723 DTSTART:20150708 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:Camera Atomica UID:391706 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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This focused installation offers a rare opportunity to view Tom Thomson's two be st-known works\, The Jack Pine (1915-16) and The West Wind (1916-17)\, with their oil-on-panel sketches.

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These two works have acquired iconic status over time\, interpre ted by many critics as bold statements of national identity\, resiliency an d belonging in nature. The images are often used to reinforce ideas about C anadian identity and the Canadian landscape\, as well as myths about Thomso n himself. As paintings\, they are also exceptional\, reflecting an ambitio us style and bold new approach.

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Their setting is Algonquin Park\; their subject is the lone jack pine. For many\ , the park embodies a &ldquo\;pure&rdquo\; and &ldquo\;untouched&rdquo\; id eal of wilderness\, but even in Thomson's time\, its landscape had been dra matically reshaped by colonialism\, industry and wildlife management. The r e-emergence of species and the growing presence of wildlife in suburban and urban areas are challenging contemporary understandings of nature and the wild. The roadkill remains of a fawn represented in Michael Belmore's B readth reflect this profound encounter between human and animal. The i nstallation's three artworks are complemented by a selection of contextual photographs.

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Organized by the Art Gallery of Ontario.

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DTEND:20160206 DTSTAMP:20150805T000723 DTSTART:20150523 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:Into the Woods: Two Icons Revisited\, Tom Thomson UID:391705 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Stephen Andrews POV i s the largest solo exhibition by one of Toronto's leading contemporary arti sts. Trained as a photographer\, Andrews has been practicing since the late 1970s\, exploring topics as varied as AIDS\, surveillance\, war\, memory a nd chaos theory. Featuring works on paper\, photographs and 21 large painti ngs&mdash\;six of which are making their debut at the AGO&mdash\;this exhib ition charts the last 15 years of Andrews' career\, paying special attentio n to his development as a painter. Visitors are also introduced to Andrews' world through a display of his sketchbooks and handmade ceramics.

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Renowned for his drawings\, collages and vide o work\, Andrews' decision to take up painting in the early 2000s marked a significant departure for the already successful Toronto artist.

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Curated by Kitty Scott\, the AGO's curator of m odern and contemporary art\, the exhibition features loans from public and private collections\, in addition to three works from the AGO collection.\n

Organized by Art Gallery of Ontario

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A 184-page hard-cover catalogue will ac company the exhibition. Published by the AGO and edited by Kitty Scott\, Stephen Andrews POV features an interview with the artist by Glenn L igon\, commentary from artists Jacob Yerex\, Paul P.\, Shelagh Keeley\, Apr il Hickox\, Chris Curreri\, Pierre Dorion and Cheryl Sourkes in addition to essays by Scott\, Alexander Nagel\, Sholem Krishtalka and a chronology by Kari Cwynar. The catalogue will be available for purchase in shopAGO.

DTEND:20150830 DTSTAMP:20150805T000723 DTSTART:20150423 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:Stephen Andrews POV\, Stephen Andrews UID:391704 END:VEVENT END:VCALENDAR